During the 1813–14 carnival season in Naples, Simon Mayr wrote a much-admired opera semiseria called Elena. The post-revolutionary Napoleonic era saw great enthusiasm for the rescue opera genre and Elena is a perfect example, in which a complex plot, based on French models, sees an innocent falsely accused of a capital offence. Mayr’s subtle accommodation of Neapolitan opera and Viennese Classicism ensures a series of choruses and recitatives that drive the action forward, punctuated with arias, romances, ensembles, lyric richness and moments of witty buffo colour.
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